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Full text of "Otto Langey's newly revised tutor for french horn"

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INDEX. 



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Rudiments of Music..;..: l 

Duration of Notes : l 

Comparative Table of the relative 

value of Notes. 2 

Bars. 3 

Rests ; 3 

Dots 3 

Triplets, double Triplets and Groups.... 8 

Time .. ... 4 

Table of Times 4 

Scales. : _."_ 4 

Flats • 5 

Table of Signatures of Flat Keys. 5 

Sharps _. 5 

Table of Signatures of Sharp Keys..... 5 

Natural 5 

Introduction. ..:vr 6 

General Instructions. 6 

Complete Scales for the French 

Horn with three Valves 8 

The first Exercises 9 

The Pause , 19 

••!••• *•••• • \ 9 • 

Slur ■A.A.:.:V.':.':.?.:;A.l.v.L.:: £0 : 

Scales for shutting the Bell. _;.;.!..: :S2 



Different shades of Tone. 31 

Taking Breath 31 

Minor Scales 34 

The double Sharp... 38 

The double Flat..... 39 

Various Duets. .40 

The Portamento. 45 

The Harmonic Minor Scale. 48 

The Appoggiatura. 49 

The Gruppetto or Turn 50 

The passing Shake. 51 

The Shake 51 

Studies on Chords. 61 

Abbreviations. 66 

Rests 66 

Chromatic Studies 68 

Grand Studies. 70 

Transposing. 85 

The Echo 88 

Various passages from 

orchestral pieces. 89 

Thema with Variations 98 

»• • e re 

• • • * • 

, ■ . . 

■List of the principal words 

in modern music 100 



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RUDIMENTS OF MUSIC. 

Before the student can commence to play on any instrument, it is necessary that he should be ac- 
quainted with the rudiments of notation. 

The musical signs, which indicate the pitch and duration of a musical sound, are called Notes , 

and are figured thus.- o J J • J-* J etc. 

They are named after seven letters of the alphabet: C, D, E,F,G,A,B, and are written on, between, 
above or below five parallel lines : called the Stave . The names of the notes are deter- 



mined by C lefs , placed on different lines 
Music for the French Horn is written m 

and for very low notes in the Bass or F clef, placed on the fourth. £2E 



Music for the French Horn is written in the Treble or G clefs, placed on the second line ^fc 



The names of the notes on the 
five lines in the Treble clef 



of the two notes above 
and below the lines. 



l the jp „ i 5 i I ^ JES °f t ^ ie f° ur *P a ces ' >H ^=t 

are. ^7^— J *' Tj- ±J between the lines. M i * —l 



E G BDF 



F A C E 




D 



G 



These eleven notes being too limited in range to indicate 
higher and deeper sounds, Ledger lines have to be added, 
above and below the stave . 



Notes on the ledger lines JL T j- 
above the stave. m V — : 



* .■■*!* *f 



£^E^ 



Notes on the ledger lines 
below the stave. 



"^ 






G F E 



D C 



Table of Notes in the Treble Clef. 



mS^k 






C D 



B C D E F G A 

e f g a "table of Notes in the Bass Clef. 



-B — C — B — E F — B- 



m 



^ 



£ 



W4 i H 1 i G I To b fe 'F « A B 

T G A B C T> E 

DURATION OF NOTES. 

Notes may be of longer or shorter duration, which is indicated by the form of each note. 

Forms of different Notes. 



:cr 



1 



¥=F- 



ScmiQ 



¥ 



Semibreve , Minim, Crotchet, Quaver, Semiquaver, Demi Semiquaver 



Groups of the latter three kinds 
may also be written thus : 

2044-100 




Quavers, Semiquavers, Demi Semiquavers. 



COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES, 



A Whole Note, 

is equal to 
2 Half Notes, £ 

or 
4 Quarter Notes, £E 

or 
8 Eighth Notes, 



or 
18 Sixteenth Notes, 

or 



i \ 



ZEC 



/ 



/\ 



/ \ 



^ * 1 1~ 



32 Thirty second Notes. ■fTffffrfrffPfrffffff "_±?J S 



I \ 



BARS. 



Notes are ,divided into 'Bars by single or double lines drawn across the stave. 



One line 



is placed after each bar. Each bar contains the same number or value of notes, 



and must last precisely the same length of time. At the end of a composition or section of a composition, 

two lines are placed forming a double Bar. J== | If either two or four dots are found by the side of 

a double Bar. :||: j the whole section from the preceeding double bar, or if there is no earlier 
double bar, from the beginning of the piece, is to be played again. This is called a Repeat. 



RESTS. 

Instead of a note a Rest indicating a pause of equal value may be used, thus. 



i 



Rest for a Whole Note, Half Note, Quarter, Eighth, Sixteenth, Thirty seticond. 

1832 - 100 



DOTS. 



A Dot placed after any note increases its value one half. Thus: 



2 



is equal to 



or 



a 



to 



^m 



or 



to 1 SJ - 



Two Dots placed after a note increases its value one half and a quarter or — F 7 -'— | is equal to j^""r*~rn etc 



TRIPLETS, DOUBLE TRIPLETS AND GROUPS. 

Triplets are marked by a figure 3 placed over a group of three notes ; double Triplets are marked by a 6 



placed over a group of six notes. Three Quarter notes marked thus 
time as two Quarter notes : "T f not so marked. Or six Eighth notes, 



are to be played in the same 



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like four Eighth notes 



five, 



■ ■ ■ ■ 



not so marked . There are also Groups of 



seven and nine or more notes. 

7 """^ — ^"~ 9 



m 



etc. 



TIME. 

In order to denote how many Quarter notes, Eighth notes or Thirty second a bar contains, special 
figures are placed at the beginnig of a movement, as under. 



Common Time. 



Three four Time. 



W 



i 



Two four Time. 



W 



P 



Contains four Quarter notes or the same 
value of longer or shorter notes or 
rests and four 1,2,3,4, have to be 
counted in a bar. 



Contains tliree Quarter notes or the same 
value of longer or shorter notes or 
rests and three 1,3, #3, have to be 
counted in a bar. 



Contains two Quarter notes or the same 
value of longer or shorter notes or 
rests and two 1,2, have to be counted 
in a bar. 



TABLE OF TIMES. 

Single or commonTimes. Compound common Times. Single TripleTimes. CompoundTripleTimes. 



^ 



m 



m 



or 4 



r, or ft or 



m 



m 



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When aline ; s drawn through the C thus (p 

1832-100 



it is called Alia Breve and two(l,2,) are counted in a bar. 



SCALES. 

The ladder- like succession of eight sounds, starting from any note and ascending or descending by 
tones anil semitones in regular order- is called a SCALE and each note of a scale is called a Degree. 

Between these eight degrees there are seven intervals or distances, five of which are tones and two 
semitones. 

There are two principal kinds of Scales, termed Major and Minor whose ascension 'or descension is 
diatonic /.^.intones and semitones; "and a third kind, whose ascension or descension is chromatic i.c.oriLy 
in semitones. 

For the present only the major scale will be treated. 

In the major scale the semitones are situated between the third and fourth and the seventh and eight 
degress of the scale. 



Example. 




Each diatonic scale derives its name from the name of the note on the first degree — or the Root . 
There are twelve Major and twelve Minor Scales. 

The distance from one note to another is called an Interval . Two notes placed on the same degree 
do not produce any interval, they are said to be in Unison. 

The intervals are named: the Second, the Third, the Fourth, the Fifth, the Sixth, the Seventh the 
Octave,, etc. 



Table. 



Degrees. 



1. 



6. 



8. 



i 



P 



Second, Third, Fourth, Fifth, Sixth, Seventh, Octave. 



FLATS. 



A scale may be formed on any note-, but in order to produce semitones between the third and fourth 
and the seventh and eighth degrees in any other but the scale of C -Major, it is necessary to employ 
certain characters, wich raise, depress, or restore the pitch of any note in the scale. 

One of these characters is called the Flat!?, which, when prefixed to a note, depresses it half a tone. 

The number of Flats employed in a Scale, depends upon which note the scale is founded. 

1832-100 



5 



The Flats succeed each other in the following order: 
1. 2. 3. 4. 

7 



$ 



I 



S 



£ 



£ 



i 



1 



P 



£ 



^//^/; Eflat; Aflat; I) flat; GflaP, Cflat; Fflat. 

Thus it will be seen that if one flat is employed it must be prefixed to B, consequently all B V in that 
piece must be depressed half atone. When two flats are employed, all B's and Es must be depressed and 
when three flats all B's,Es and A's, and so on. 

The flats placed at the commencement of each stave are called the Signature , while any, which appear 
in course of the composition, are called Accidentals . 



TABLE OF SIGNATURES OF FLAT KEYS. 

Number of Flats. 1, 2, 3, 4, 5, 6, 7. 



Navies of the Keys. 



1 



s 



fefe 



s 



B^ 



Et, 



A\> 



Db 



G\, 



Ob 



SHARPS. 

A Sharp $ prefixed to a note raises it half tone. The Sharps succeed each other in the following order. 



2. 



5. 



% 



t 



1 



P 



¥ 



3E 



* 



* 



F sharp; C sharp; G sharp; D sharp; A sharp; E sharp; 
The same rule, conerning Signatures, as in Flat Keys is to be observed here. 



B sharp. 



TABLE OF SIGNATURES OF SHARP KEYS. 



Number of Sharps. 
Names of the Keys. 



1, 



2, 



4, 



6, 



7. 



| » l»ii !*n^-. jM« Hi | | % jg j j | 

G D A E B F# C# 



THE NATURAL \. 



In order to restore any note which has been raised by a sharp % or depressed by a flat K to * ts original 
pitch a Natural Ej is employed, thus zjjj S ft a =: F raised by a sharp, is restored by the natural 



fcp^ to its original sound F \ ; or 




B flat to 



B natural. 



1832-100 

I 



6 



INTRODUCTION. 

The French Horn (in French called Le Cor and in German Das Waldhorn) is one of the oldest in- 
struments known . Its name is very likely derived from its resemblance in form to animal horns. 

Historians have noted that early instruments were prepared from horns of beasts. 

In former times before the invention of the Valves, the different notes of the scale were produced 
either by the natural open notes or by closing- more or less the Bell of the instrument with the right 
hand, which however, in the hands of a medium player produced only dull sounds . On the invention 
of valves, they were added to the French Horn as well as to other instruments. There are French 
Horns with two and with three valves, the latter being generally adopted now, becausecapablemore 
perfectly to render in time the entire chromatic scale, especially the lower notes, some of which 
cannot be produced on the two valved instrument. 

Some old players are still opposed to the entire use of valves, because they argue, that the charac- 
ter of the original sound suffers in consequence. By comparing however, a chromatic scaleplayed 
on either instrument, it will be found that the preference must be given to the valved Horn as it 
renders every note with equal clearness. 



The Compass of the French Horn with three valves is from /' to | 



A chromatic scale is, however? only possible from the low C 



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GENERAL INSTRUCTIONS 



I. 



The performer may play in a standing or sitting position, but he should always keep the body 
upright without stiffness, the chest well expanded to allow the free action of the lungs. 



2044- 100 



n. 

The instrument is held with the left hand. The fore, medium and ring fingers rest loosely over 
the valves, always ready for use 5 the thumb pressing against the under part of the tube. 

The instrument must not lean upon the body, only the ring of the bell is to rest against the right 
haunch. The right hand, outstretched but with fingers close together inside the bell on that part 
next the body, to be ready for use when partial closing of the bell is required. 



III. 

The mouthpiece is placed on the lips, as nearly as possible in the centre of the mouth, about two 
thirds of the mouthpiece on the upper and about one third on the under lip. No strict rule as to the 
size of the mouthpiece can be given, as for high notes a smaller one and for low notes a larger one 
may answer best, very much however, depends upon the formation of the lips. 



IV. 

To produce a sound on the instrument, the lips shouldbe closed as in the act of smiling, the tongue 
put between the teeth, quickly drawn back, and at the same time the word u Too"or "Uoo" pronounced. 
A compression of the lips will produce a higher sound and relaxing them, a lower one. 



V. 

Breathing should be effected without removing the mouthpiece from the lips. Breath must be taken 
by opening a little each corner of the mouth, while steadily retaining the position of the mouthpiece. 

Breath should never be taken through the mouthpiece. The cheeks should not be puffed out when 
playing, it makes the tongue heavy and looks ugly. Take breath as slowly as time will permit,forthe 
more slowly it is taken, the more the player will have at disposal. In any case it is desirable to be 
sparing with the breath. It will enable you to respire oftener and is beneficical to health. 



VI. 

In order to iacilitate the playing of the French Horn in keys of many Sharps or Flats, there are 
Crooks for nearly every key. For the beginner it is advisable to practise only the El?, EC) or Fcrook. 
At a later period however all the others may be practised. 






2044- 100 



Complete Scales for the French Horn with three valves, 




Some notes 



can also be taken with 



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The figures 1,2,3, indicate the three valves to be pulled down by the fore- middle - and ringfinger 
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I The Bass notes as written here, do in reality sound an octave higher, modern composers have there- 
fore frequently written the Bass notes as they really sound. The conductor should in such cases point 
out the fact to the performer. 



Compartive Table of old and modern notation of Bass notes for the French 

Horn. 

Old Style, 



A difference of 
an Octave. 



m 



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o- 



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_u_ o 




m 



Modern Style. 



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m: 



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These two are 
in unison. 



9 



Table of open notes on the French Horn. 



1 j j h 



a V 



b-g- \o. g ■' 



£ £ 



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the first Exercises. 



Pronounce the word '"Too" for each note. 



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SLUR. 

A Slur-- -s. drawn over two or more notes binds them together so that only one stroke of the tongue is 

applied to produce them. Articulate the notes as marked below from a high note to a lower''tee-oo r ' and 
from a low note to a higher"too-ee'.' 



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Before proceeding to the use of the valves it will be very useful to acquire facility in producing 
tl^ intermediate notes of the scale by opening and closing the bell wholly or partially with the 
right hand. 

The scales which are given here, will show the pupil how to do it. 

The explanation of the signs is as follows. 

The is for open notes. 

The • is for a note requiring the bell entirely shut. 

The r4 is to shut the bell one quarter. 

The Vi is to shut the bell one half. 

The % is to shut the bell three quarters. 
' The Bell means all the space inside which the right hand acts, and the signs refer only to the space 

between the hand and the side of the bell, and not to the space occupied by the bell itself. 



SCALES FOR SHUTTING THE BELL. 



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The ear is the only guide for the greater or less degree of opening or closing some notes in order 
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Scales and Exercises for the French Horn with three Valves. 



SCALE OF C MAJOR. 



Omit these high notes for the 
present until a good emhou- 
ehureis acquired. 



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When dots are placed upon the notes thus 



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tongue should be short and the sound produced J ,. . j , ^5 KJ N_ — ,-» ^.j.-rT T 
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This 



kind of tongueing-is called staccato . 
When dots and a slur are written thus: 



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the notes should 



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e=m 



PPPEP 



£ 



£ 



3 



i 



^ 



F^f? 



^^ 



P^ 



^r i J u^ J r^ 



i 



^ 



p 



m 



wt± 



i$Qi i jJJJ i j^ J i /.^ J i jffr ifl j rr i g tfr i> — r 



c^ir ct^ir ^j i j JQji j §lg j];u j^ i j i 



2«4»-10U 



29 



In Sixths. 



m 



± 5^ # 



m 



? 



f y l i 



£ 



J- If J- If J. \{-±^t r ht 



•L-l 1 



M 



& 



"i/O'i/QU pr Jiupr i 



E 



luftA 



).Jl i fj)j"p i r ;> i~p i J j)jji J 1 (_H ^ 



i ffi\^\0± \0 ^ \ ^\$^ m 



m 



l^iC% i j %^^ i ^JJJi^j i ^U ? 



In Seventh. 



«w j«UJJjjg i > jrrr r J/"j i > j 



i9- 



m 



m 



i 



t 



r r ^ i >j nr^g^^ 



rCfl>N!JJ^ 



-et 



^ 



g 



i 



fe^ 



iUJJJ'1" * I P 



i=fe 



p p 



i. 

In Octaves. 



jJ^JJ^ l f'jIJ-^ 



=g 



a^ i niJ%fl 



5E 



_ <y 



i 



^4lXI 



-*2- 



^ 



XJC 



'J .. M 



^^ 



^2 



W 



B^r i rcr^ij^fAQ33^ 



2044-100 




j #£tf i £ JflflB^^ 





Scale of C major in the low octave. 



i i 



J L 



-i- 



-3 e- 



9 - 3 a 



o I * * 



£ 



f 



1 . 

1 o 



Ff^f 



The same in Bass Clef. 
0, ;2 i 



r 3 ! 



l 
i a 



l 



i i 



a a o, 



E 



5 



iWj'i 



-<©- 



■3T 



C B A G 

In Thirds. 



F E DC D E F 



G A 



B c 



3E 



44 ' i i, ^ J ' J, i ' J J U 



Z7 



^ 



^r^ i 'j J 



^^i 



^ 



9 — ^» 



« <s>- 



In Fourth. 



S 



jj ' jJ'i^JJij l Jj l i-|lj =t l/' K ilJ^J a t^-|^ l = 



In Fifths. 



£ 



4J'ij 



■h- — (■ ■«■ — <• ^ z: 



* =: ♦ 



■»■ z: 



i 



rs 2- 



^^ 



K 






-©- 



-©- 



^ ^- 






r* 



s 



SE 



^ 



f 



t 



i^§ 



~o~ 



¥ 



"Z7 



«©■ — 
77 



(I. 



1 



E 



3 I j iU -' oT^^^F^ 

— S- — -*• -• ■#■ — S- ♦ -4 ♦ — • ♦ 



5pp> 



=: "*• z; 



2014-100 



▼ z: 



31 



DIFFERENT SHADES OF TONE. 



p means: piano, soft. 
pp means: pianissimo, very soft. 
f means-, forte, loud. 
ff means: fortissimo, very loud. 
,f jf means-, mezzo forte, moderately loud. 

vresv. or — -= z means: crescendo, increasing the sound. 

dim. decresc, or — means: diminuendo, decresccndo, diminishing sound. 

sf,rfk, or;>~ means-. sforzando, rinforzando, accentuated. 
Jp means: forte. piano, loud and immediatly soft again. 

In order to acquire a full tone and along breath, long sustained notes should frequently fee practised 
in the following manner.- 



Adagio. 



136.3SB3 



IE 



-<*- 



-*V 



*> ' o 



~^- 



-©- 



TJ" 



-€V 



PP < f^pp Pp^f^PP 



-*»- 



2CE 



-ev- 



-o- 



30: 



xe 



-^~ 



-«- 



-©- 



"cr 



IE 



-»- 



-O- 



IE 



-€»- 



xs: 



-©- 



o ^ "" 



TAKING BREATH. 

In playing a wind instrument, it is very important to take breath at the proper time. This should be 
done quietly, without noise .and without any motion of the body. As musical compositions consist of 
phrases, care should betaken that such phrases are not interrupted. Much however, depends on the 
construction of the body, for many players can keep the breath longer than others, so that no strict 
rule can be given, where to take breath. Some Composers however have marked places to take fresh 
breath by a •> or + as the following example will show. 



2044-100 



li'Z 



Allegro moderato. 



137. S 



-0 — <s — 0- 



con gracta. 



^ 



^=F 



r7M77 



n=f^ 



-o-=- 



i 



rtnrr^ 



r> i 



£ 



£ 



r^Tr t nn-rFr-*--^-* 



^ 



» » — •- 



I 



P r i r r r i 



^r^u^ir 



i ^x 



m » i m 



_ 



jr~\fn 



Andante grazioso'. 

A 






1*=^ 



P 



^3 



6- 



&.. 



M 



fT-TlT^] 



+ 



£ 



pi 



^ 



Allegro marcato. 



^8 



? 



=g=? 



T> — W 



:©=£ 



S 



:£=£: 



3 



P*g ^ 



y- 



/ 



n.-,. j 



i f f 



&-*- 



f ''"UT 



Pi i * ^ 



9 — e- 



* 



if: 



V 



WFW 



w* 



=^ + 



3 



r 



^ 



1X51 



£ 



^^ 



V 



m 



f 



jr 



Exercise with Syncopated Notes. 



140. 



TjT^i i> J * f ^r^Tr^ ^^ ^ 



S 1 K. 



# i a i 

+ A 



2f 



^=n 



l 2 12 



P^ 



7^~ 



-t^r-H- 



3^ 



l^'Jl/N 



+ 




S 



204'*-10O 



33 



-Q-4 — 0- 



SCALE OF F MAJOR. 

1 l 1 

1+<M 10 , °i+ , , ° Q ' i! 1+ Q t 



■0-1- 



=0=^ 



-w^^ 



-I — I- 



? 



1 






w 
Andante 



9 + w -1 _i _L 



141. ^ j k-b <*, r^ffl j n »'J 



ELuJ l J-l 



i 



Si 



» ' ^ V. 



f 



# 






g| 



J: 



t 



fwi 



3=X 



isfcr 



zii 



>y ** i-; 



*T5»^ 



//#». 



V#> 



Allegretto. 



MOZART. 



142. s 



falJ [j* IlTT 



^ J"] LH 



i* m 



§ 



# — •- 



-# #- 



if 



w? 



E^ 



S 



I 



f» 0- 



^^ 



3*=*=* 



-* * * 



SCALE OF G MAJOR. 



3ES 



a — o- 



1 o 



J Q_ 



2 



a ~ 



o o 



rj P 



ESS 



r^ 



-s 



& 



T^- 



? p 



^ 



J si ^ 



143. 



^ffl 



3 ♦•♦ ? *♦ 



i 



P 



SS 



S*S 



E=^gf 



E 



l 



es 



^^^ tfe^ 



p?-^- 



"3" 



Allegro. 



HANDEL 



144. 






mr ^ , i ego 



o 



im 



##±^^ 



*e^±^ 



i+ 



IllPlilipiP^ 



2 



»• " » * -ri 



t^m 



zzx a 



y 



^ 






/ 



p£ 



i- 



^£= 



ICC 



y; 




a I O O A ^^> ^^ 



4. 1, *,3,4. 



• mm 



'-m-m 



p r ^|JJ.J^ l j _J < gj^J;jjjg;ir,,r^ r l J^= l l 



MINOR SCALES. 

Every maj or scale has its relative minor, the root of which is to be found on the sixth degree of the major 
scale. Both scales bear the same signature. There are two kinds of minor scales, the Harmonic and the 
Melodic , of "which the latter from will now be explained. 

the ascending of the melodic minor scale differs from descending, the former having its sixth and seventh 
degrees raised by accidentals not essential to the Ke y. =_ In ascending, semitones are situated between the 
second and third, and the seventh and eighth degress; and in descending between the sixth and fifth, and 
the third and second degrees. 

Scale of A minor. 

without signature, relative to C major 



tone I semitone I tone I tone I tone 



tone I semitone 






t 



t 



I 



l^degi 



/ 4 th\ 



/5t]A 



fam 



fm 



/Sth\ 



tone 



tone Isemitone I tone 



tone 



semitone I tone 



i i 



^ 



8tlA 



/ 7 th\ 



h ] y 



/ 4 th\ 



TABLE GF MINOR SCALES WITH THEIR RELATION TO MAJOR, 

A MINOR E MINOR B MINOR F# MINOR C# MINOR G# MINOR Djf MINOR Ajf MINOR 



* 



4 



fcfe 



H 



^ 



m 



m 



i 



H 



i 



to 

E MAJOR 



to 

F# MAJOR 



To 

C# MAJOR 



"To 
C MAJOR 



to 
G MAJOR 



To 
D MAJOR 



To 

A MAJOR 



to 

B MAJOR 



* 



*fc 



« 



Hi 



u 



m 



D MINOR G MINOR C MINOR F MINOR Bb MINOR E(? MINOR Ai? MINOR 

I; 



25= 

He 



te 



m 



m 



te 



m 



m 



a 



E 



to 
P MAJOR 



to 
B\> MAJOR 



to 
El? MAJOR 



to 
A\? MAJOR 



to 
Th MAJOR 



to 
Gb MAJOR 



to 
C\? MAJOR 



£ 



a 



ss 



m 



m 



±t 



til 



be 



1S32-100 



as 



SCALE OF A MINOR. 



1 
-a ^~ 



-e — i- 



3 



2 1 

3 * 



2 



» I ?—r-tf 



fe ,f 



E 



r^ 



£ 



a 



-» 



rj 



f j , i 







1 1 



a q_ 



g * > 



^Ff 



^ 



Andantino. 



146. m f7> §§ 



s 



^s 



jm^-5.- i r~r 



■CEJ I 



PPP 



P 



cEt'tt P |b L L* j P 1 ^ J) | 5 



s 



MZiiSZM 



l!r# 



| J " J f|J^]J^ | f r > g I ^ J 



f 



B J ^T f 



SW 



» * # 



Andante. 



141 ffgBte * i J 77 & irr h W c &!rTr*J i te 



sg 



ife 



jjj^ i r rrirP WJ Jji^^ i j^JWrc; g 



■«- 



-^f ♦•i^ 



^ aJ J 3 '.J I \ ■ 



r i/P?r pita 



rrLTT r ' tc^f 



V # 



I 1 

Q 3 °, g 2 



<'.j] i J Ji r i if" irff r 1 yiy | 



SCALE OF E MINOR, 
l 
g ° 0,0.0a g Q a o oi o 



a o 



^lf 



«• — "-I© 



-3-3- 



1 1 



3z=g: 



-O— 3 - 



-s — a- 



2 



£ 



^"r'rirrr 



iFt 



-<5> — "-« 



• ' o 



■* * 3 * ° 



148. 



4 



Allegro. 



1 jp i i j: ^ i U" ' O 7 u ^tt^vttth ji 



1 



fr0 7 | ^ 7| jJ 7 | j> 7| l> ,7| Ji 



e^M-9^1 



2044-100 



148 



■#i 



An d ant in o. 



M.'J J I J i 



¥ 



:» *_n 



f^W^ 



i 



m 



s 



* c 



-J2. 



t 



i=± 



£ 



^ 



t 



^ 



•■> .' I «L, z 



IS 



sc 



Mr *- 



* 



# 



1*J 



-«»- 



SCALE OF D MINOR. " 
l i i 

1 1 °, a , 2 2 o+O 1 T ° 1 



j j ^ tic ~if 1; r b r 



1 + 



BE 



^W 



-3 — 4- 



1 , 1 

.'{ + 2 — 4- 



1+01 






o 1 



^TT 



-*V 



if 






£=tf 



*:* 



or: 1 



Moderato. 



149. -fr* ± i k I gS 



3EfcE5EE£=5 



_ • rs^g =B 



^S 



» . » 



s 



: 7 £ 7 



.^J^f'f 3 ' * fcl « 



m 



«/ 



£ 



^ 



S 



^^ 



P^^ 



yH^ . 



» ». 



-*~T 



/- 



=r 



* • ' f * s ^_ * 1 



r 



l^^^bTTTiT]^^ 






s 



^ E 



£3z 



t 



* • #, ZZj 



k ■ I - Sr 



"♦"-= — #- 



• • * 



EEE 



jarJTWg? J ■Fr^^z^g 



2Jf 



i 



7 £ 7 



• ■ ■ a * 







^7 

20*4-100 



ij, 1 



HH^ 



*-* y * 



S=^ 



*3fc3£ 



M 



ST 



-^ 



— ~«*is 



9 • _i :■ 

V3 



37 



Scale of B[> Major 



i 



rrnvSt 



^=^ 



-^ — F- 



f^ 



£ 



♦ <* 



Scale of G Minor. 

+ i i 



i 



fat! 



I 



tml 



P 



p— ^ 



H 



r^ 



\* %* ' ° 



*^» r 



75" ♦ " 

A ^ + + 





I 



& 



£ 



Scale of D Major. 

+ 1 i + 



W-^^F* 






-*?»--» 



E^F^ 



EZ±I J » I* : 



Scale of B Minor. 



=6 



^hF 



^t^1K 



#Mf ■ f + ^ ^ 



P 






-i^- — r 



or O or 



fe= 



3~p ^ 



i 



^ 



f 



Eg 



* ^ V 



T> 



dl 



3i 1 



Scale of Eb Major. 

+ 



^3£ 



a — * 



3 



^^ 



* # 



^Wl 



i g 



a + 



# 



^JgfF^ 



4 ^^ 



:d=*: 



-* F 



■o- 



Scale of C Minor- 

+ 



i 



*=F 



^ + I O 3 



► 



frfr ,f b r^ 



* • 



J R F ff 



^ zzz 



^^3 



n ? bj ^ 



■ « j 



F'Tl 



* b# bi 



l 



Scale of A Major. 



& -&■ -75-? 



jt 



s£ 



i 



r^gj 



F^ 



afcizS 



P 



^ 



iff 



Scnle of Ffj Minor. 






1 + 



204-1-100 



g^D'vftJfr 



J, 1 j *^ -g— r -#^ 



Wt. 



t=3=tz 



w = w 



^^ 



wrt^ 



38 



SCALE OF Al> MAJOR. 



& 



t 



&I3E 



^ 



IP 



w 



3 



M3=3 



g£^ 



SCALE OFF MINOR. 



•^ ~ 



^ i rr 4f# : #^rtr^ 



p 



i p 'ji^ i j i3 



^ 



4 



te 



j Hkj u 1 1 1 u j ^ 'j j ^ ^ |J i i 



fcz 



# 



tt 



M 



SCALE OF E MAJOR. 
+ i + 



i 



*=£ 



£=* 



-^ — — t 



k> 44 



* 3 ^ 



-^ 



SCALE OF Cjt MINOR. 



& 



J I f - 1 6 S 



Pgf 



5 



f 



: S=— 3 



"V'^ '## ' 1 



• — ^ L ~ 



# 



fes 



SCALE OF Dl? MAJOR, 
+ i + 



t 



y \ f\. e 



^^ 






"cr 



♦ 



SCALE OF Bk MINOR 



i 



gypff 



l=^P=P 



p 



f^ 



§s 



-3 1 



» 1 »>!; 



m. 



^ 



3 



* i; v 



# 



a 



SCALE OF B MAJOR. 

i + 



77 
2 



fei 



+ ♦ 



^^ 



Pf ? 



pp 



^pi 



77 
+ 



ifeii 



J 2 2, 



a I I 



1 n -2 2 ^v — 3 9 






-e»- 



THE DOUBLE SHARP. 54 

When a double sharp x is prefixed to a note , the note must be raised a whole tone . Thus 
F double sharp will sound like gs J 



G natural. 



SCALE OF G(t MINOR. 



i 



i n 



*- 



i-.fi ^ + 



j I ^»p ! f ititlYs ^ 



iiJEHC 



P U J p 3 " 1 



W'JijjLj 



2044-100 



39 



*y 



SCALE OF F# MAJOR. 
A _+ i 1 „ + 1 



i 



i 



^s 



*=ff 



rr^ 



^ 



m 



22 



9 w 



* 



^jj'j i 



Z7 =: 



*&* 



W.jjjij.ffir ^ 



SCALE OF D# MINOR. 

+ i + 



i==st 



pp E i^rfP 



Ty 



SCALE OF Gb MAJOR. 



w^ 



jj|g r r ri rrr i rM 



pB33 



£ 



^ 



-& 



-» 



9 



SCALE OP Eb MINOR. 



1 1,1^1, g jj | J r ^ ff 5^ 



^^^WfffP 



T5 



THE DOUBLE FLATM>. ^_^ 

When a double flat W?is prefixed to a note, the note must be depressed a whole tone. Thus fk< w* 
Bdouble flat will sound like fa J — A natural . 



Like ^^ 



Example. 



bh>L i* Ji,u> ^^ 



J i r J i gjj J- 1 i - i 



P 



^ 



p 



ct 



The following articulations shall serve an as example, in which different forms all scales should be prac- 
tised. 



f r i f r 



i j u 



-# 



zz: 



* ■-** 



i 



A 



£ 



^^ 



f 



J H J J J ■ "J J "J ^ 



#=3K 




2044-100 



<*u 




4*^ fflir r?f f rr,f ff f f ij i r p. \s^m 



Various Duets for two French Horns. 



NQl. Fans are. 



14 Horn. 



2 n i l Horn. 



^m 



5 



E 



^5 



PS 



## 



7^ 7 



fcs-ft 



£ 



E 



PP 



7 £ 7 



P 



0-0-0-0 



l.af U K 



£+h^ 



^ 



5 



*^ 



^^ 



5^^ 



♦ — L -^ 



: *=ff 



£ 



^ 



P 



Ei=zi 



» » 



S 



■* 



S 



f 3 ^ 



j^£g 



^S 



See? 



PS 



^^ 



E^ 



jg 






^m 



m 



m 



T^T' 



**: 



^ 



7^ 7: 



P 



-^ 



* J « 



I 



N?2. 



» F # 



I 



1 H P 7 



* # 



i 



i 



a 



#= — #- 



• — # 



• #L 



♦— # * 



-• 0- 




f—w 



p i r r r r i f - r r r 



^ 



m 



• m 



i 



P 



#£^S 



« r e ■ 



1 



& 



» , O 



# w « 



* — : # 



20 44-100 



41 



N?3. Allegro. 



^m 



~~X^P- 



• S » 



ft 



^ 



^ 



i> 



/ 



p 



/ 



2> 



i^ 



» * s » 



£ 



-6> 



-6^- 



/ 



P 



f 



r* fir* r i' rrr ir rr lf 1 ^4r * r |r** : | : l 8w 



F 



i> 



/ 



» 



m 



Si 



^ 



f=#= 



^ 



» 



-s»- 



p~=f 



1 



p~% I p > I ? 



s 



£i£ 



£* 



/ 



/ 



i> 



/ 



1 



3 



^ff 1 



P£ 



££* 



£ 



S* 



g: ; m 



f 



f 



f 



i 



t= * f i r ^ 



^ I <& j r 



£ 



- wr- r? 



§ 



* 



» 



r 



^ 



g 



« 



s 



s* 



» 



*-£♦- 



N9 4. Andante. 



Sicilian Fisher Song, 



5L 



P 



PP 



Q P 



SE 



=F 



I 



£ 



i^tel 



^ 



tt 



s^ 



EEpp 



£ 



:£? 



Q 



3 



£ 



•"^ 



^ 



P 



^ 



+ ' d • 



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I 



-/ 



in. 



% 



T hf-r* 



^^ 



^ 



r 



^ 



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* • T -* 



3 



XT 



20.44-100 



42 



N?5. Allegro moderato. 



fc 



S 



3^ 



«* 



dolve 



m 



■zt 



-&- 



t 



*£ 



w 



p 



PS 



*> 



ip 



Sf P a 



i 



^ 



5E 



f f - 



rs: 



3 



32= 



^*£> 



^¥ 



i 



r^ 



» >, » 



»> 



P 



p 



£ 



^5f 



3? 



s* 



r »Kb 



fe* 



■ 



J'HJ 



W 



£ 



» 



T W 



a* 



t 



fT^f 



Si 



22: 



-<&- 



?^ 



p 



Fm 



? 



S 



T 2 



P* 



I 



S 




P 



P 



£ 



s 



fc* 



n 



f 



P 



« 



^ff 



W 



iC^fc 



s 



• «# 



■==£ 



==P1 



« — -•- 



22: 



+-r+ 



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N9.6. Allegro 



i 



Z2I 



i 



s 



^F=^ 



-&- 



m 



^^ 



^ 



-(9- 



P 



£ 



forte e 



marcato 



3E* 



J 



fW 



;g^ 



^ 



•w * 1 * 



Pi 



f 



3= 



^ 



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Hunting Chorus From"DerFreishutz." 



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Graces, Embellishments or Ornaments of Melody. 



THE APPOGGIATURA. 



The appoggiatura is a grace note, placed abuse or below a principal note. When it is placed above it is 
always at the intervals of either a tone or a semitone. When it is placed below the principal note, it should 



always be at the intervals of a semitone. When the appoggiatura is written thus (k T i f 



the value of it is one half of the following note. When crossed by a small line, thus 
its value is but one fourth of the note that follows it. 



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There is also a double appoggiatura, which is composed of two grace notes, placed: The first one degree 
below the principal note and the second one degree above. 



Example. 



As written. 



As played. 



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* The Cadenza is a term which indicates that the measure of time is suspended, and its performance left to the players pleasure, who 
should execute is tastefully and in correspondence with the preceeding movement. 
1832-1 oo 



THE GRUPPETTO OR TURN. 

is composed of three grace notes, placed between or after aprincipal note. 

The Turn is marked thus: co. A small sharp placed under the sign f indicates that the lowest of the three 
grace notes is sharpened. Should the sharp be placed above the sign thus-, Je the upper grace note must 
be sharpened. In case of a sharp above and below the sign cg> the upper and lower grace notes mus t be sharp- 
ened. The same rule applies to Flats, only the grace notes must be depressed half atone in that case. 



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As written. 



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51 



THE PASSING SHAKE. 



lie passing shake, often written thus *v must be played quickly and round in the following manner-, 

Example. 



As written 



As played 



fe 



f 1 f f f f 




or 



» . P $m = 



THE SHAKE. 

The Shake or Trillo , marked thus 4r consists in the alternate repetition of the notes marked, with 
the note in the next degree above it. 

Example. 



As written 



As played. 




Chain of Shakes. 



As written. 



As played, 




A shake with two open notes requires constant practice because it is entirely produced by the pressure 
from the lips. The shakes, where valves are employed, are easier. To acquire a fine shake, it should be 
practised first slowly, then with gradually increasing velocity in the following manner. 



^SI 



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N°23,24,<& 25, should also be practised one octave lower. 

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• ; r r m » 



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jrjj-jj^.jyj^ l ^^ 






ta ra^ i-ffl c^pffl -^i 




iTOffi ' ^anr^ 1 ^^ 1 ^ '^^ 



Various articulations to N945 





2011-100 



<)1 



G Major. ^^ »^ 



&B% ll ,| :■ ]tj J j Jjr :i ^j t Jf * Qg gg |i 



F Major. 






fe^fe^Fl 




D Minor. 



^•j ^^ V ^^i 



Bk Major. 



#=p=? 




«? 




jbg^aq^^! jf i JTT || [f iJ 1t | || j j^ 



* 



G Minor. 



/\ ur iviinur. 




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E|> Major. 

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tCf ' r L£r 



I 



.? 



fr dip [[a jfl 8 ^ i m lia fi % 'H . ^ ^ph 



2041-100 



62 



4 



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C Minor. 



Plipll 



J>| rTl^n 



*^r 



3=5= 



I 




S 



pg^^ijflJ^ jj 



At Major. 



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I JJfl %^ I jj p %i 




j^jjjf^ jjtj^ i T i,^ n ^r^ ^r^ 



a 



D\> Major. 



^tftr^'itftfttQjif^'jTi^jri j!^ 



m 



mM 




^ip'-^F'-gg 







a 




m 



3? 



Bl? Minor. 




j^t^^h- i jj^^i^j& jj 




2041-100 



o:j 



G# Minor. 

m I rriTTi 




C$ Minor. 



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E Minor. 



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1 



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2044-100 



04 



Various articulations to the previous Studies on Chords. 




J j j ffl illpiplp J 5 



w :== \—f^^- - -m 




-eter. 



• 



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j Also the following forms should be practised in different Keys and with various articulations. 



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Some other Studies on Chords. 




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2044-100 



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66 



ABBREVIATIONS. 

Abbreviations are employed in written music, to avoid repetitions of a single bar or passage, Thus in- 



stead of writing four quavers 



the same-, or (fo ? | | for T T * 
And 



or 



a minim, marked with a thick line E2: 



will indicate 



■ » n 






or * 







etc. 



(van's i ^ nnum 



sign mir1f"f1 thus^ a-» * i" used. S T> E= ."j j "lr^ Jn =~^ 



Orinstead of repeating an identical bar, a 
etc. 



Allegretto . 



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FW? 



S 



P 



* 



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± 



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r ^p;p; 



pT^ HPfr ^i^S 




n 3- 1 J- ;t? 



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122: 



fWrl 



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2> 



RESTS. 

When a composition requires a prolonged silence for any instrument, it is indicated by numbered rests. 

1 2 6 10 

etc. 




or 



or 



or 



Meaning that so many bars of the movement should be counted in silence. 



2044-100 



THE HARMONIC MINOR SCALE. 

The Harmonic minor Scale differs from the Melodic, as only its seventh degree is raised by an accidental, 
whether ascending or descending. 

SCALE OF A MINOR. 



105 



.11 



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fcgi 



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Scale of D minor. 



m 



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Scale of G minor. 



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-ra ^rr*r i r» 



C£CJI''CrcajN»J3 ^ 



f 



SSE 



y • 



Scale of C minor 

rffjf i f 



■i/j7Pi r rjTxn?ri^frcu r i r ^j^ ^ 



f 



ss 



SCALE OF F, MINOR. 

«- I • g 



b ULXJ 



Scale of BkMiNOR. 



&m 



m 



rJ7Pircr c tfin f fr [B fcg 




Scale of Eb minor. 



f 



te 



Wff 




P 



i 



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Pi 



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Scale of G# minor. 



3j 



Ufc 



^3 



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Scale of C# minor. 



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Scale of Fjf minor. 



i'Vj n | g 



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^^ 



x 



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Scale of B minor. 



0;| j ^JTj: 



i 



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Scale of E minor. 



BB 




-<5> 



1832-100 



THE PORTAMENTO. 

is an expression denoting the slurring of one sound into another , which is done by means of the lips.' 
Increase the sound when from lower to higher notes, decrease it when from higher to lower notes. 

The Portamento should only be applied in parts specially adapted for this kind of phrasing, and it should 
on no account be overdone, otherwise it becomes ridiculous. . 



Example. 



As written. i fi£ i* j 



As played. 



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CHROMATIC STUDIES. 



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Bibrffa 



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2044-100 



70 



GRAND STUDIES. 



I 



N?l. Allegro agitato. 



A.BELLOLI. 



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2044-100 



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N?2. Adagio nontanto. 



A.BELLOLI. 






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GALLAY. 



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2044-100 



74 



N9 4. Allegro moderato, 



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N?5. Allegro grazioso 



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V 



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2044-100 



76 



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N? 6. Allegro. 



A.BELLOLI. 



srr.j i 



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78 



N? .Andantino, 



fe g fTirrfi J 1 1 j J. I j j i i % A ji n Tj n , i 



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81 



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82 



N? 10. Allegro. 



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S3 



N°ll- Allegro vivace. 



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ymr iTJfn 



ff^ 




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1 



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84 N? 12. Andante espressivo, 






si 



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83 



TRANSPOSING. 



The French Horn having crooks for almost any key, the music for it is generally written without any 
signature. In many compositions however Ihe player has not sufficient time to change the crook, the rests 
not allowing time enough fur doing so. It is therefore very important that the player should he able 
to transpose , i. e. by playing the notes on another crook, than the one marked by the composer wether 
higher or lower. 

The following examples will show, on which crook the various Transpositions are most easy to execute. 



This passage writ- 
ten for the 1< 
crook must u 
posed on the F crook j 
be played a fifth lower! s 



ge writ- / 
low B\> \ 

if trans- ( 



i <*J 



Horn in Bk 



Horn 



EE 



f 



PPP 



inF, 



I 



^ 



m 



p 



4 m 



6- 



-&- 



% 



In At? (occurs seldom.) 



i' J • I p r J 



In AB (occurs seldom.) 



B=m 



s 



^^ 



P 



i 



Transposed on E\> 
play a fifth lower. 



Transposed onECj 
play a fifth lower. 



S 



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s^ 



w 



i 



i7>^7T3 



^P 



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LowBtj 



Robert the Devil. 



I 



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i=S 



.> 



MEYERBEER. 




f 



F= 



On E I] play a 



fourth lower. 



i 



.? 



f 



t 



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# 



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f=^f 



f 



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l^LS 



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2044-100 



86 



InC. 



P 



On F a fourth lower 



%^ N 



P 



m 



SYMPHONIE in C 

J2 __i. 



F. SCHUBERT. 



f 



^ 



^ 



i 



^ 



3 



£ 



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InDk 



La Sonambula. 



BELLINI. 



zz: 






CO 



g^ 



p=£ 



£ 



I# 1 f } 



On Fa major 



third lower , 



P 



s 



s 



J~b, i»''rt 



i/v^ 



isn^n 



^ 



CV»». 



zz: 



E 




S 



£ 



* 



f 



i 



g— a 



9^ 



P# 



tpl 



i 



^ 



P 



^ 



&# 



p 



up 



^ 



InD. 



frmrrr i r ^'^ 



Stradella. 



^ 



«? 



FLOTOW. 



igg 



m 



m 



On F a minor third lower 



mm 



>? 3 



PP 



P 



§ 



+ a> 



s 



• p Hl«" I T CDg 



i^p 



*&* 



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ftgfg 






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i 



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^ £_ 



^S 



^^ 



fW 



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at* 



i!n# 



Andante cantabile, 
InEk 



Quintet. 



BEETHOVEN. 



a p g j gr i 



i •> b 



s 







m 



d d 



On F a major second lower 



g^ 



^ 



-j^r^ 7 \ ? & 



m 



^ 



ps 



?044- liX) 



87 



im 




mm 



zp= 




PP 




■kJ g 



£ 



=* 



^^ 






s^ 



Overture Martha. 



InE. 

' Cin TT r> mainrcprmiH 1m 



FLOTOW. 



i 



^ ^P ^ p 



?e 



P^P 



■ g ! > « 



P 



P 



P 



On F a major second lower 



\ A wu x a. uiajui bcuuuu iuv» 



£ 



— '• ^ w .- y — 



s^ 



^ 



# 



ill* 



£ 



£Z 



In F# very seldom. 



3 



sTc/iJrl J c/ 



^F* 



fari 



^^ 



# 



I 



XT. 



PP 



f 



On E a major second higher, 



gg r^p j iiJi 



Si 



7 I ■? 



fe* 



&cj i J r if m 



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$ 



InG. 



Overture Elizabeth. 



ROSSINI. 



SEE 






s 



On F a major second higher 



fefi 



H 



;ffi^ 



F~rr 



Z2I 



^S 



*rx3,-« 



pp 



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fip^ 



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In Al>. 



p Ittr E 



*rrf i f 



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On F a major third higher 



Jn 



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toc 



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88 

For the following passage it would be preferable to use the original A crook, at it is much easier on 
it than on the F crook. 

A Major Synphonie. bee^hoven. 



I 



In A. 

P^ P' ■• 



p-^ 0- 



m 



m 



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PS 



SE 



On F. A major third higher. 



\ 



&& » f ; 



s 




St 



i=fe 



i 



hH 



follf^tr 



MM 



In Bb(high octave crook.) 



i 



^pp 



P 



p 



f > * ? 



E 



|¥«rr«p 



■ m 



0Hr 



OnF 



a fourth higher. 



rv) v 



t 



BE 



=P 



£ 



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?m 



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^ 



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<S> 519- 



FF 11 * 



* 



THE ECHO. 

A charming effect called the a Echo"can be produced by a clever player on the French Horn ,by shutting 
the Bell ?4 with the right hand and at the same time transposing the notes half atone lower. By shutting 
the Bell \ , the sound is raised a half tone , this the transposition produces the original pitch. 

With open Bell. 



m *' B e 



f f m f 



9 r M r r r \ r 



s 



i 



-&- 



Each shutting the Bell % 



and playing with the valves these notes. 



si 



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2044-100 



89 

VARIOUS PASSAGES FROM ORCHESTRAL PIECES. 

Symphonie in D. 
Larghetto. 

lit Horn in E. BEETHOVEN. 



# 



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B 



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^^ 



or esc. 



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in A. 



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^^ 



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Eroica Symphonie. 



BEETHOVEN. 



J Iff! IfU I 



221 



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cresc. 



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>rv f I fag ^\ I tap g -r~P 



tS> r— (& 



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cresc. 




» » , tn 




^Sk i |;/ £"^"T^ 



■ |; m m i j; m m u \\rm yzz± 



inF. 



sen/pre cresc. 



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inEk 



dolce. 



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2 nd H 



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SCHERZO. 

Allegro vivace. 

m 



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FINALE. 
Allegro motto. 

l^t Horn in gk 



I 







% 



$E£5 



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cresc. 



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Presto. 



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2 



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20*4-100 



Symphonie in B 



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HnEM 



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Adagio. 



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91 

BEETHOVEN. 



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cresc. p 

cresc. ' P 



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p^iMi 



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3=* 



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l^Horn 



2 n _ d H 



H 



Andante. 



Symphonie in c Minor. 




3 



P 



^r 



P# 



P 



& 



HE 



a 



s 




p 



§ 



BEETHOVEN. 



w wP 



gp 



sf 



P 



3EI 




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*/ ■ /' 



I 



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sf'f/im 



m 



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jr 






^ 



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92 



l^Horn 



in C. 



2» d H 



orn. 



Allegro . 



3 



W 



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£ 



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IDC 



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-O- 



-O- 



<^- 



P 



dolce 



wfir! 



m 



p 



T=^F 



^ 






i 



t^ 



E^S* 



o — e- e > ' ^ 



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-cv- 



umson 



_Q_ 



m i r j r cj 



P 



JO rtfo/<?e 



cresc. - 



f 



1 st H 



orn 



fe 



inF. 



2 n - d H 



orn, 



Symphonie Pastorale . 
Allegro ma non troppo . 



BEETHOVEN. 



P 



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P^ 



* 



^ 



^ 



to 



P 



^ 



P? 



PP 



£ 



m$ 



@ 



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# p- 



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m 



f^£ 



-i— —i- 



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2()V*-100 



SCHERZO. 

Allegro. 

l^HommFSolo. 



F=* 



93 



1 



P 



f—m 



cresc. p dolce. 



w—n 



w==£l 



dolce. 




P—w 



frt-tr^ 



■ r g 



«- 



j^_ 



& 



cresc. 



f 



FINALE. 

Allegretto . 



Solo in F. 



I 



I 



p- w 



:E 



HS^ 



3BE 



4? 



Allegretto. 



cresc. 



if 



P 



SYMPHONIE IN A. 



BEETHOVEN. 



l^Horn 



in A. 



21 d H 



orn' 



I 



m 



" . 



#*# 



P 



P 



PS 



Tf^m 



F 



^ 



S 



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^ 



:£ 



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r p tcr 



-m — wHk 



m 




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#g^ 



^ 



P P P 



PS 



P 



SS 



s 



W 1 JCT 



i 



Allegretto. 



X J jJ iUXi^U ^fFl 



^ 



2n?Horn in E Solo. 







1 



P 



/■)■/> vr fit/ii. 



i r 



cresc. 



94 



Scherzo. 

Assai meno presto. 



l^H 



orn 



P 



inD. 



2« d H 



orn 



sc 



p^dolcez 



I 



■& 



P^ 



» 



■El 



£* 



S 



m£ 



gs 



» 



^ 



g i F 



^ 



^ 



£ 



^ 



^^ 



P 



fe£ 



E 



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■^- 



#1 



2! d Horn 
8 times. 



I I- i r-i l .-TNt 



fcfc 






P 






A>'0<4>"«i > iy m W i 



$ 



15! 



c u i r i M r r i r r n ^^ 



i» 



2nd 



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p J p I J j l 



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f 



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unison. 



MENUETTO. Symphonie IN F. 

Tempo di Menuetto . 



fp 



BEETHOVEN. 



11* Horn. 



inF.' 



2». :l Horn' 

2044-JOO 



I 



m 



& 



pp 



§ 



p 



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cresc. 



S 



B 






^ 



cresc. 



I Ifa 

m 



r¥$t 



Egjgg 



^^ 



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&& 



S 



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m 



p 






m 



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si 



d: 



st 



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/? r/o/«?e. 



yJbJ l jJW 1 J- JVi'lf^ 



cresc. 



i? 



r 



£T£S£ . 



/• 



p 



ffl. 



: ^5 



£ 



rrr i n T 



^ 



i=fc 



cresc. 



P 



cresc. 



P 



m 



ppp 



-X21 



P 



p?^ 



S 



^ 



^£ 



■ : g 



S 



S 



jgr^-p 



£3E 



fe 



£3E 



s 



ffl 



p 



m 



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cresc. 



P 



dim. 






ife 



gg 



a 



t 



* — =-•- 



* — #-# 



Nocturne from A Summer nights dream. 
Andante tranquillo. MENDELSSOHN. 



^m 



^, ^ i » p r i r ^ ' r • 



p • B 



f=ff*T 



i 



^ 



^E^F^ 



J? dolcc. 



pi 



Err i rr ^-^ 



TSL 



k*» 



Adagio cantabile 



Symphonie in A Minor. 



|t | Q, | N I'lJJ^JpjjpEg 



MENDELSSOHN. 



£=! 



pS 



J: 



_/? espressivo. 



^^ ^h^^ 



2044-100 



^ 



^S 



iJO 



InF. 

Moderato. 



The Bird in the Forest. 



F. LACHNER 






F=*= 



rr-iJ ii rctf 






f r 1 i Pp. I ^_ 



fj ^>2L- * v^£j^ — 9" — I — r 



$fir\&q&\f r^& ' $\n 



OVERTURE. 



q ^ In F. | 

fe ji J -JwJ i rWJi J ^ 



afa/ce espresstvo 



vg i rr 



ttjyifprrrf i ^ 



RAFF. 



*^ 



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f-^-y 



i 



*== 



r r J ur'T ^ 



^ 



■ i p * 



-*-# 



LC^'rr 



J f I J- 1 1 



In A. 
Larghetto. 



Overture "Marth a' 



flotow. 



§ - 1 g *JJI jj ijiJJ-i rJ- 1 J Wjy'lj. Jj l JJ .Ji iJ^I r 



-6*-=- 



# 



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j^UJJtJj)I^J.^^1^ 



JJ^OU.^ p 



<" * t^Vi * 1 ^ 



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B 



$ 



tiyiff^J ^tHv* 1 tH - ^J.) P^jp IppEB pB 



In P. 

Allegro non troppo. 



Symphonie in D Major. 



BRAHMS. 



^S 




^ 



• + > | y *^T> g 1 ? 



1 1 r u 



Of 



* 



stringendo. 




2044-100 



' Overture 'Mignon" 



ind. 



U7 

THOMAS. 



l£ tt ^^^:4f^ j yJ j hJ"^r Tr i r ' ' r *^ ^p^ 



LLr I p 



#-= ,-* 



£ 



J pn^ir J p m 



IN Ek 
Adagio cantabile. 



f 



Septett. 



BEETHOVEN. 



ii rr rrtfj' 



4 



jam • 



''CUT Irf C£f i j r ^CrjNffn*** § \ 



== y 



Overture "Ober on ." 



IND. 
Adagio . 



WEBER. 
Echo. 



IN Ek 
Andante 



Carmen 



bizet. 



-.. _ m 22 I j- I ' S jg 

1 rpri -irP 




ff^^ 



4? jop 

inbJ),- 

Adagio non troppo. 



Symphonie. 



pp 



BRAHMS 



t*r r m 



gap 



fa 



Hft-f-ipn- 



E 



2> 



E^ 



P-f-f^f-^f- 



£3 



£ 



fep^^fe 



Pi 



e£ 



Symphonie "Forest." 

+ + 



RAFF. 



i ^g i ji i ^ 1 1 jj:. i ji i ^^i^ r i 1 ^ 1 1 ^ |lr g 




i 



^ 



-#- 



Sp: 



tefe 



? 



pTf g Eg \ 



i*t=fc 



W=6 



^ 



a TT (g 



jj^gj VfM S^ 



+ <? 



fc»= 



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Nhff 



¥ 



a T »CfiJ 



f #^F if~f l >i» i n > F cfaiE j 



^p** 



b ir^r * * r ijlli il^ 



2044-100 



i*S 



THEiiA WITH VARIATIONS. 



Allegretto. 



BELLOLI. 



m iJj-ij3J J Ki-|[3 J r i rxacr' ' jJ ^^^W cri r-qj p 



"rCfr ' ffl^ Hg^^ r i ^jfifcf i r r 



Var.l. 



iJ iJJJiJ^rr^ P 



PS 



Mz: tm»rr? 



m 




IH- J ' V >JJ^tf 



/ 



==.«ST 



»ii» 



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p^ 




m^ 



t Htm-0 



' m * 



f 




igi^^tmifaWcttf^iJ^cdifLj 



sr 



^Jj u Jj ■ t^ r i ^ 



* 



jtf Li l^ i r i 



Var.2. 



J^ 






-0-0- 



m^ 



rp^mrEur^ 




si 



L^iMM; 



'/■ 



w. 



^^ 




-#-# 



* 



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.? 



.? & fcfL * <? 



var.3. ctj ijyjjjj^jr^'ifrjj^jjrp 



ife 



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n>j«" i £^>ji ' 



nf 



V 






m r w^ww * 3 ** 



iNI 






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f 









Lento .. 



Var.4. p| J | jffi g s; 



w 



m 




~2 



^^ 



TwM'r i 'JJjrr 1 ^^ 



iz 




2044-100 



espressiro. 



V ' ^ 



99 




= »f 






m 



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fcE^f^TS 



+z 



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f 





^ggfc 



2044-100 



jjcfr^ij^frjl ^ 



With their Abbreviations 



With animation- 



A . to, in, or at; a tempo in time. 

Accelerando Gradually increasing the speed. 

Adagio ......:• .Very slow. [strict time. 

Ad libitum. As the performer pleases; not in 

Agitato . Restless with agitation. 

Al or Alia To or in the style of a March. 

Alia Marcia In the style of a March. 

Allegretto Moderately quick. 

Allegro : Quick and lively. 

Andante In moderately slow time. 

Andantino A little less slow than Andante. 

Amoroso. , .Affectionately. 

Anima, con, 
Animato 

A piacere .'. At pleasure. 

Appassionato Impassioned. [chord. 

Arpeggio Separating or breaking the notes of a 

Assai Very. 

A tempo In time. [ movement. 

Attacca Proceed at once to the following 

Barcarolle • • • • A boating song. 

Ben . Well. Ben marcato, well marked. 

Bis Twice. 

Bravoura . • , . . Brilliant execution. 

Brillante Gay, rapid, brilliant. 

Brio, con With much spirit. [belishment. 

Cadenza A passage introduced by way of em- 

Calando Gradually softer and slower. 

Cantabile In a singing style. 

Canzonetta A short song or air. 

Capriccio ) (A composition of irregular con- 

Caprice c ( struction. 

Cavatina .'....- An Italian air. 

Chord A combination of two or more sounds. 

Coda A supplement at the end-of a compo- 

Col or con With. [ sition. 

Crescendo or cres Gradually louder. 

Da or dal. : From. 

Da Capo or D.C. From the beginning. 

Dal Segno From the sign. 

Decrescendo or decresc. Decreasing in strength. 

Diminuendo or dim. . . Gradually softer. 

Dolce or dol. Softly, sweetly. 

Duetto or duo A piece for two performers. 

E '..And. 

Energico With energy. 

Espressivo With expression. 

Fine or H Fine The end. 

Forte or J* Loud. 

Fortissimo or J^f Very loud. 

Forzando orfz> Accentuate the note. 

Forza Force of tone. 

Fuoco, con . . .\ ..... . With fire. 

Furioso Furiously. 

Gracioso Graceful. 

Giocoso Joyously. _ 

Giusto Just, exact. 

Grave Very slow and solemn. 

Gusto . . ."' Taste. 

Harmony A combination of musical sounds. 

Key note The first degree of the Scale. 

LargJietto Slow, but not so slow as Largo. 

Largo Broad and slow. 

Legato Smoothly, the reverse of Staccato. 

Leggiero .- Lightly. 

Lento Slow. 

L'istesso tempo The same time, [octavo higher or lower. 

Loco In place. Play as written, no longer an 

Ma But. Ma non troppo, but not too much. 

Maestoso Majestically. 

Maggiore Major Key. 

Marcato Marked. 

Mancando Dying away. 



and Explanations. 

Me no Less. 

Mezzo '. .Half. 

Minore Minor key. [ ly quick. 

Moderato : Moderately. Allegro moderate, moderate- 

Molto Much. 

Morendo Dying away. 

MOSSO Moved. Piu mosso, quicker. 

Molo Motion. Con molo, with animation. 

Nbn Not. 

Obligato. . An indispensable part. 

Opus or Op A work. 

Ottava or 8va To be played an octavo higher. 

Pause . The sign indicating stoppage. 

Perdendosi Dying away. 

Pesante . Heavily. 

Pianissimo or pp . .As soft as possible. 
Piano or p. ...... . Soft. 

Piu More. 

Piu tosto Quicker. 

Poco or un poco. . . .A little. 

Poco a poco ....... Gradually, by degrees. 

Pol Then, afterwards. 

Prestissimo As quick as possible. 

Presto Very quick. 

Primo or 1™° The first. 

Perdendosi Losing itself, dying away. 

Pomposo ......... .Pompous, grand. 

Quartetto A. piece for four performers. 

Quasi As if, similar to. 

Quintetto . A piece for five performers. 

Rallentando or rail. Gradually slower. 

Ritardando or rit. .Slackening speed. [peats. 

Replica Repetition. Senza replica, without re- 

Rinjbrzando ..... .With emphasis. 

Risoluto . . . ; Resolutely, bold. 

Ritenuto Retarding the time. 

Scherzando Playfully. 

Secondo or 2<l The second. 

Seconda volta ', .... The second time.. 

Semplice Simply. 

Sempre Always. 

Senza Without. Senza sordino, without mute. 

Simile The same. 

Sino As far as. 

Smorzando Diminishing the sound. 

Solo For one performer only. Soli, for all. 

Sordino Mute. Con so rdino, with the mute. 

Sostenutoi Sustained. 

Sotto Under. Sotto voce, in a subdued tone. 

Spirito spiritoso. . .Spirit, spirited. 

Staccato ." Detached. 

Stretto An increase of speed. 

Tacet. . . . . »•: •. .-. . - . .Silent. 

TJwma The subject of melody. [ commencemei 

Tempo . . Time. Tempo primo,the same time as att 

Tenuto or ten. ... . . Held for the full value. 

Tranquilla Quietly. 

Tremolando) „ ... ., _„„+ 

Tremolo { Trembling, rapid movement. 

Trio A piece for three performers. 

_ ( Too much. Allegro, ma non troppo, 

Jroppo £ quick> but not t00 quick 

Tutti All, all the instruments. 

Un A, one. 

Unisono . . . Ln unison. 

Una corda . . . , On one string. 

Veloce Quick. 

Vivace With vivacity. 

Vivo Lively. 

Variatione. . .\. .-. .... Variation of a mt 

Vblkslied. A national song. 

Voce • • The voice. ^? 

Tblti Subito or VS. . . Turn over quickly 






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Music Department 



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